The dark knight rises. The Dark Knight Rises, an American genre falls

That is not to take away from the expressed non-verbal of the films The League of Shadows, in contrast, had one goal: to destroy the morally corrupt Gotham City in order to force it to rebuild from its ashes
Partly to protect his loved ones from harm, partly to inspire all of Gotham to heroism But, eventually it gets boring

Meanwhile, among the citizens, many rise up against the villains.

‎The Dark Knight Rises (2012) directed by Christopher Nolan • Reviews, film + cast • Letterboxd
The Batmobile Tumbler has the grumbling quality of a toned, muscular fist ready to punch through a wall
The Dark Knight Rises movie review (2012)
He blows up the city's bridges and to top that lands a right hook on Batman's jaw? Batman's antidote was practical: he delivered a chemical cure to stop the League's hallucinogen
The Dark Knight Rises (2012)
Prior to that scene, the third film's big reveals were almost all predictable
Even when Catwoman would do one of her cartwheels, the camera would cut away, cutting away the joy of the moment That Nolan is able to combine civil anarchy, mass destruction and a Batcycle with exercise-ball tires is remarkable
but shouldn't the people know the hero whot saved them? Catwoman is a freelance burglar who's always looking out for number one, and Miranda is a do-gooder environmentalist; both are drawn irresistibly to Bruce, who is not only still a bachelor but has spent the last eight years as a hermit, walled up in Wayne Manor with the loyal Alfred One kid is the innocent goody-two-shoes Captain America

But, instead he decided to punch him.

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The Dark Knight Rises (2012)
Nolan's own genre iconoclasm was not to make Batman someone complicated and depraved
‎The Dark Knight Rises (2012) directed by Christopher Nolan • Reviews, film + cast • Letterboxd
Bane, played by in a performance evoking a homicidal pro wrestler, is a mystery because it's hard to say what motivates him
‎The Dark Knight Rises on iTunes
In the War genre, we witnessed the cynicism of Kubrick's "" 1964 and "MASH" 1970 also by Altman, and then we experienced Coppola's maniacal "" 1979